Last Judgment

W trakcie wykładu będzie można dowiedzieć o znaczeniu symboliki religijnej  „Sądu Ostatecznego” ukazanej przez Hansa Memlinga. Objaśnione zostaną też wątki eschatologiczne, czyli odnoszące się do ostatecznego przeznaczenia świata, ludzkości , człowieka. Wątki te ukazane zostaną w szerszym kontekście innych europejskich przedstawień artystycznych

The article is dedicated to the iconography, development and symbolism of the “Rolling up the Sky” scene – a fragment of the complex multi-scene composition of “The Last Judgment” icons. The study based on selected icons of “The Last Judgment” from the 15th–17th centuries originating from the territory of Halychyna (Galicia) in the West of Ukraine and from the modern territories of Poland and Slovakia. Evolution of the “Rolling up the Sky” motif and traced changes in the compositions of the “Last Judgment” icons from 15th and 16th–17th centuries determine the novelty of the article. The motif’s composition in the icons of the 15th century is characterised by its simplicity and minimalism, on the other hand, since the 16th century, the scene has been actively developed, and new elements appear in it. An important new feature of the “Rolling up the Sky” scene from 16th century is depiction of the zodiac symbols: four Ukrainian icons of “The Last Judgment” dated to the 16th century with depictions of the zodiac symbols are analysed. Evolution of the symbolic image of God the Father, or Ancient of Days from the formal symbolic depiction as shining disc to the image of grey-haired old man is traced.

In the nowadays ruined church of Archangel Michael in village Shilkovtsi,
near the town of Elena, the striking composition of the Last Judgement once occupied the eastern wall of the narthex. Today, the mural has been transferred to the Museum GIM Elena (Daskalolivnitsa) in the town of Elena. According to the signature written between the group of the righteous and the walls of Heaven, the composition is authored by the painters Zahariya and his son Kancho Tsanyuv from Tryavna, in 1873. Тhe Last Judgement in Shilkovtsi was created under a strong influence
of two particular paper icons with the same theme.

Szanowni Państwo
Centrum Badań Memlingowskich UG oraz Instytut Kultury Miejskiej w Gdańsku  serdecznie zapraszają 27marca (czwartek) , o godzinie 18. 00 na trzeci w 2025 r. wykład w ramach popularno-naukowego cyklu zatytułowanego „Wokół Memlinga”. Wykład  pod tytułem
Sąd Ostateczny Hansa Memlinga na tle innych europejskich wizji eschatologicznych wygłosi ksiądz dr Krzysztof Niedałtowski.

  W trakcie wykładu będzie można dowiedzieć o znaczeniu symboliki religijnej  „Sądu Ostatecznego” ukazanej przez Hansa Memlinga. Objaśnione zostaną też wątki eschatologiczne, czyli odnoszące się do ostatecznego przeznaczenia świata, ludzkości , człowieka. Wątki te ukazane zostaną w szerszym kontekście innych europejskich przedstawień artystycznych.


Wykład będzie nagrany i udostępniony na kanale youtube WMG Video.
Do zobaczenia w Instytucie Kultury Miejskiej, w Kunszcie Wodnym, Plac Rakowy.

O prelegencie :
Ksiądz dr Krzysztof Niedałtowski , teolog i religioznawca, duszpasterz środowisk twórczych archidiecezji gdańskiej , rektor kościoła św. Jana w Gdańsku . Od lat 80. XX wieku współpracuje ze środowiskiem artystycznym Wybrzeża, promuje sztukę sakralną. Od 2018 wykładowca malarstwa włoskiego na Studiach Podyplomowych Italianistycznych w Instytucie Filologii Romańskiej Wydziału Filologicznego Uniwersytetu Gdańskiego. Laureat licznych nagród i wyróżnień  min.  za stworzenie forum dialogu Areopag Gdański. Społecznik , od września 2022 członek Rady Fundacji „Zupa na Monciaku”.

Catholic Servant (December 2024): 1, 5. Many Christians focus on the aspect of preparation for celebrating the past event of Christ's Nativity. The Christian tradition, however, is to prepare oneself also for Christ's coming in the present through prayer and sacraments, as well as at the last day to judge the living and the dead.

This paper discusses the origins of the concept of hell and the Lake of Fire, tracing it from the Old Testament through the Book of Enoch to the New Testament. The idea of hell as a fiery place of judgment is not fully developed in the Old Testament but is significantly expanded in the Book of Enoch, which describes a fiery abyss created for the Watchers and those who followed their corrupt teachings. This concept influenced New Testament writers like Peter and Jude, who used the imagery of the Watchers' imprisonment to describe the fate of false teachers. Revelation 12 uniquely aligns the terms devil, Satan, and the serpent, clarifying the serpent's role in Genesis 3 as a divine rebel. The Lake of Fire, as depicted in Revelation 20, is the ultimate punishment for the devil, his angels, the Beast, the False Prophet, and those not found in the Book of Life. Enoch's detailed descriptions of the afterlife, including the fiery abyss and the mountain of the dead, provided a framework for understanding hell as a place of torment and imprisonment for both rebellious spiritual beings and unredeemed humans. Second Enoch lists sins such as witchcraft, idolatry, and various forms of wickedness, linking human iniquity to the Watchers' corruption of humanity. This paper emphasizes the importance of understanding these intertestamental texts to gain a deeper insight into New Testament theology and rhetoric.

(A tanulmány magyar verziója is hamarosan elérhető lesz) The interesting thing about the visions of St. Bridget of Sweden is that her descriptions could be applied to our contemporary society almost entirely.
The vision chosen for my lecture at the Conference “The Doctrine of End Times” follow the post death individual judgement scene of a flirtatious, vain girl living a high life. A young girl setting a bad example for her contemporaries might be an influencer today, and this similarity made the theme fitting not only for the theme of Conference, but also for the audience of young adult students. This mystical description presents us a human story, and it makes the Church's teaching on sin, judgment, and divine mercy relatable and easily understood by lay people. I also would like to highlight that some elements of the description show a progressive theological thinking that is not typical of scholasticism and would only emerge centuries later in the eschatological debates of the early 20th century.

Art historians have paid a lot of attention to the historical development of the Last Judgment plot, particularly in Ukrainian art. However, the approach to the topic is to some extent conservative: the attention of researchers has mainly been focused on the Western Ukrainian icons of the 15th—17th centuries. The interpretation of the iconography of the plot presented by a prominent Ukrainian artist Nikodem Zubrzycki (late 17th — early 18th centuries) is left behind most scholars’ attention.

Narrative cycles of St. Stephen, proto-martyr, are common, frequently found on ecclesiastical monuments of thirteenth-century France. The cathedrals of Bourges, Chartres, and Paris, to name only a few, support visual imagery inspired by the legend of Stephen. Ordained by the apostles, ostensibly to aid the widows and orphans of the congregation, Stephen quickly shows himself "full of grace and fortitude" (Acts 6: 8). His inspired, vitriolic sermon incurs the wrath of the Jews who lead him from the city of Jerusalem and stone him. The prevalence of Stephen's cult in the Gothic cathedrals of medieval France has been recognized by scholars; however, little attention has been devoted to the bishops' development and use of the cult, or the churches' production or interpretation of visual imagery. Explanations of the extant images have been driven by text based, iconographic models, which have often obfuscated the relevance of intricate compositional elements and relationships that are key to a more artistically and historically relevant understanding of the compositions. The intricately sculpted Stephen cycles in thirteenth-century France and the historic circumstances that informed their conceptions and receptions are the subjects of this dissertation. Drawing from a survey of the extant, architectural, sculptural narratives and relevant historical resources, this dissertation begins with a discussion of the establishment and dissemination of Stephen's cult in France. The following chapters focus specifically on the thirteenth-century images at the cathedrals of Rouen, Paris and Bourges chosen for their intricacy and unique compositional formulations. Ultimately, I propose the retelling of the Jewish/Christian debate at the root of Stephen's story was subtly reconstructed by ecclesiastical officials and articulated by artists to reference and comment on contemporary anti-Jewish conflict and ideologies in the mind of the medieval, Christian viewer. I continue to argue that St. Stephen was an exemplar of ecclesiastical succession and an idealized manifestation of the extension of the bishop's power within the ecclesiastical hierarchy. In addition to situating the proto-martyr's imagery in social and political context, this endeavor also contributes to the broader understanding of the construction and function of pictorial, hagiographic narrative. 1 All biblical references are taken from the Douay Rheims English Bible as translated from the Latin Vulgate at . 1 CHAPTER 1 INTRODUCTION Imitatio Christi: An Introduction to St. Stephen the Proto-Martyr From seeing the images as books of the illiterate, to dismissing them as the propaganda of worldly clerics, interpretations of medieval architectural sculpture have followed a wide range of approaches. Nevertheless, few creations offer more drama or opportunity for exposition than the façades of the great medieval churches with their scenes of high-minded moralization, courtly grace, and gruesome martyrdom. The visual renditions of St. Stephen, such as the one on the thirteenth-century façade at Bourges Cathedral (figure ), testify to the intricacy of monumental Gothic architectural sculpture with displays of the martyr's lapidation and vision. From his ordination on the bottom left of the tympanum, to his stoning in the center of the composition, the life of Stephen was interpreted by the Early Christian fathers as paralleling the life of Christ. Stephen's life is depicted in a myriad of details on twelfth-and thirteenth-century ecclesiastical architecture across France. I suggest these pictorial narratives, while based on textual sources, were artfully constructed to reiterate the policies and concerns of the literate Christian majority, and sometimes even manipulated to effect and justify the agendas of Christian attacks against medieval Jewry. St. Stephen, differentiated from his numerous saintly namesakes by the designation protomartyr, was the first to follow the example of Christ by enduring torture and death at the hands of unbelievers, the Jews of Jerusalem. In other words, he was the first martyr, literally the first witness to Christ. Martyr means witness as translated from the Greek. Stephen's secondary title was proto-deacon, or the first deacon. When the needs of the Greek congregation became too great for the twelve apostles, they searched among the disciples for seven men who could be appointed to minister to the widows of the followers. The first among these men was Stephen (Acts 6:1). 1 Although the diaconate and its relationship to ecclesiastical prerogative would be refined throughout the Middle Ages, St. Stephen's cult would flourish as that of the only saint outside of the apostles whose story is included in the Gospels (Acts 6-7). Furthermore, after the miraculous discovery of Stephen's grave in 417, Augustine, Bishop of Hippo (354-430), attested to the veracity and efficacy of the saint's relics, encouraging their dissemination. According to the New Testament, Stephen worked diligently among the people, but found his calling as a preacher to the Jews. However, Stephen's final vitriolic speech so enraged his Jewish audience that they, bearing false witness against him, took him from the city of Jerusalem and stoned him in the presence of Saul, the unconverted Paul. In the tradition of Christ, Stephen's last words were prayers for his persecutors. Where the New Testament's testimony 2 See Eugen von Ewig, "Die Kathedralpatrozinien im Römischen und im Fränkischen Gallien," Historisches Jahrbuch 79 (1960): 1-61, esp. 40-46; and Baudot and Chaussin, eds., Vies des saints et des bienheureux selon l'ordre du calendrier, avec l'historique des fêtes, 12,

Everyone (but me) agrees that the woman next to Jesus in the center of the <Last Judgement> fresco in the Sistine Chapel is Mary his mother. In this essay culled from the book I summon to account several issues that make this certain identification far from certain.

Diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento, totale o parziale con qualsiasi mezzo sono riservati per tutti i Paesi. I curatori hanno scrupolosamente verifi cato i diritti delle riproduzioni fotografi che pubblicate nel volume; in caso di involontaria omissione restano a disposizione dei titolari dei diritti delle immagini per l'assolvimento di quanto eventualmente occorra nei loro confronti. Il catalogo completo è disponibile su www.maggiolieditore.it e www.theplan.it.

Kerstin Brandes Refreshingly Different – Ines Doujak’s Friends 1-3 (2008) Although women are said to get along swimmingly, to enjoy themselves, and to feel at ease with each other, today the non-gendered term “friends” carries particular weight. This paper shows that the attempt to align representations of friends with the conceptions of femininity and gender on offer in the collective Western European repertoire of images, moreover to try to determine such figures in distinction to these images, and to classify and attribute them at all, proves less than satisfactory. Friends are refreshingly different and invite one to conceive of relationships we actually desire in more complex and multifaceted terms, which at once leave open and open up manifold possibilities.

O artigo propõe o aprofundamento dos conceitos de
“julgamento” e “justiça” na transição da estética medieval para
o renascentismo através da análise dos afrescos de Giotto di
Bondone e Michelangelo Buonarroti, ambos nominados como
“Il Giudizio Universale”. Tais obras marcaram o estilo e cultura
de sua época e reforçam as simbologias do julgamento desde um
valor de origem divina, próprio da narrativa do Juízo final, até
outro valor de origem humana, específico da base reguladora e
disciplinadora das relações sociais em cada contexto. O Juízo
Final está presente em diferentes culturas e permite constatar o
sentido das simbologias do “julgamento” e “justiça”, decorrendo
de uma análise pregressa de erros e acertos humanos com força
de definir o destino. Trata-se, portanto, de uma apreciação iconográfica, assentada na análise estética e histórica, que busca
vislumbrar possíveis liames entre a noção de “julgamento” e
“justiça” e os conceitos de “soberania” e “poder”, com o objetivo de aproximar elementos presentes nestas simbologias e problematizar outras possibilidades de sentidos de prática e ordem jurídica.

Il volume è stato finanziato con i fondi del Dottorato di Ricerca in Storia dell'arte della Sapienza Università di Roma, coordinatrice prof.ssa Manuela Gianandrea. Il testo ha superato la procedura di accettazione per la pubblicazione basata su meccanismi di revisione soggetti a referees terzi Ricerche dei dottorandi in Storia dell' Arte della Sapienza a cura di

is a Teaching Fellow in Classics at Trinity College Dublin. Her research interests focus on early Greek conceptions of time, Presocratic philosophy and anthropological approaches to Classics. Her most recent publication is 'Chance, Relativity, and Empedocles' Cycle(s) of Time' (2022). Rebecca Batty teaches at St Mary's Catholic High School, Lancashire, UK. Her research interests focus on Latin literature, ecocriticism and depictions of the natural environment in the late Republic and early Roman Empire. She completed her doctoral thesis, titled 'Rivers and the Redefi nition of Time in Ovid's Poetry' in 2021 at the University of Nottingham. Most recently, she reviewed Irby's Water in Antiquity (2021) in Th e Classical Review 72 (2022).

www.artemedievale.it I testi proposti per la pubblicazione dovranno essere redatti secondo le norme adottate nella rivista e consultabili nel suo sito. Essi dovranno essere inviati, completi di corredo illustrativo (immagini in .tif o .jpg ad alta risoluzione di 300 dpi in un formato adatto alla leggibilità) e riassunto, per essere sottoposti all'approvazione del Comitato Scientifico al seguente indirizzo: [email protected]. La rivista, impegnandosi a garantire in ogni fase il principio di terzietà della valutazione, adotta le vigenti procedure internazionali di peer review, con l'invio di ciascun contributo pervenuto, in forma anonima, a due revisori anch'essi anonimi. Il collegio stabile dei revisori scientifici della rivista, che si avvale di studiosi internazionali esperti nei diversi ambiti della storia dell'arte medievale, può essere di volta in volta integrato con ulteriori valutatori qualora ciò sia ritenuto utile o necessario per la revisione di contributi di argomento o taglio particolare. La Direzione della rivista conserva, sotto garanzia di assoluta riservatezza, la documentazione relativa al processo di valutazione, e si impegna a pubblicare con cadenza regolare sulla rivista stessa l'elenco dei valutatori che hanno collaborato nel biennio precedente.

El estudio de las estampas y sus usos como modelos para la pintura de la temprana modernidad en el cruce con la circulación global de las imágenes ha permitido reconstruir extensas redes de imágenes a partir de la apropiación de los mismos motivos en diferentes partes del globo y profundizar en el accionar concreto de los artistas que seleccionaron y combinaron los motivos de las estampas a partir de objetivos diferenciados. El presente artículo aborda la circulación de los motivos del Juicio Final de Miguel Ángel para destacar las citas visuales de esta obra como estrategias de los artistas para generar una intervisualidad que conecte su propia producción con un artista y una imagen célebres para sus contemporáneos.

During the second half of the 18th century and throughout the 19th century, the composition of the Last Judgement was enriched with additional themes and contents. Among the striking contents are the three so-called apocalyptic scenes derived from the Book of Revelation where the main protagonists are the Righteous Enoch, the Prophet Elijah, the Antichrist and the Archangel Michael. Although, long before the scenes were included in the Last Judgement, there had been a great interest in Revelation in the Western world since the 9th century. Hence, we are tracking the oldest depictions, as well as the visualization of the scenes regarding the above-mentioned protagonists in the medieval illuminated manuscripts, and also in the Athonite Apocalypse cycles, representing a significant source of inspiration. Furthermore, we present the examples of the Last Judgement incorporating the three scenes in chronological order from 1754(94) to 1873, depicted on icons, paper icons and wall painting.

The paper is dedicated to the iconographic analysis of several compositions illustrating the text of The Ladder of Divine Ascent (Scala Paradisi) of John Climacus. The sources of the iconography of Holy Convicts from the 5th homily of the Ladder are described, and its ties with the iconography of the Last Judgement are highlighted.

Аннотация:
В статье анализируются композиции на тему «Лествицы» Иоанна Синайского в росписи церкви Николы Надеина в Ярославле. Особое внимание уделено композиционному решению сцен подвигов святых «осужденников», которое, как показано в статье, могут восходить к древнерусской иконографии Страшного суда.

This is the second article by the author dedicated to the eschatological concept of H. U. von Balthasar. In this article, the author examines the response to the criticism of the concept of Balthasar by the adherents of universalist and infernalist views. The first part of the article provides a description of Balthazar’s interpretation of the eschatological passages of the New Testament. In the second part, the author points out the main difference between Balthasar’s «eschatology of hope» and the doctrine of apocatastasis. The third part of the article reproduces ideas about God in infernalism. Further, the author gives Balthazar’s answer to the question: what does a Christian dare to hope for? In the next part, Balthazar’s arguments on the topic are considered: how is the bliss of the righteous in Paradise possible, contemplating the torments of sinners in hell? Further, the focus of the author's attention is the question of the relationship between the hope for the salvation of all and the problem of freedom. The article also discusses Balthazar’s views on the theme of the Last Judgment, hell and the final fate of the devil. In the last part of the article, the author gives assessments of the eschatological concept of Balthasar by various researchers and concludes that it raises a number of questions.

Молинь Валентина Дмитрівна кандидат мистецтвознавства, доцент, завідувач кафедри образотворчого мистецтва та академічних дисциплін Косівський інститут прикладного та декоративного мистецтва Львівської національної академії мистецтв Богданець Ольга Михайлівна здобувач освітнього ступеня «магістр» Косівський інститут прикладного та декоративного мистецтва Львівської національної академії мистецтв УКРАЇНА Світ східнохристиянської ікони-дивовижний світ, де поєднується земне з

Молинь Валентина Дмитрівна кандидат мистецтвознавства, доцент, завідувач кафедри образотворчого мистецтва та академічних дисциплін Косівський інститут прикладного та декоративного мистецтва Львівської національної академії мистецтв Богданець Ольга Михайлівна здобувач освітнього ступеня «магістр» Косівський інститут прикладного та декоративного мистецтва Львівської національної академії мистецтв УКРАЇНА Світ східнохристиянської ікони-дивовижний світ, де поєднується земне з

, not long before people's movement through the world came to a halt, a session at the Forum Kunst des Mittelalters conference in Bern explored medieval artworks as "Bridges to Transcendence". Covering a wide range of topics-prayers inscribed on the frames of Georgian icons, spatial dynamics in a two-story German chapel, depictions of sacred mountains in Byzantine cosmological diagrams, and the rendering of divine revelation in manuscript illuminations and engravings-the speakers explored the manifold ways that medieval Christian art could be an instrument in the "process of transfer between earthly and heavenly spheres." 1 The question I posed there, and explore in the present paper, was more pedestrian. How did Europeans in the age of Gothic cathedrals, so preoccupied with preparing themselves for a happy afterlife, imagine that their newly reassembled and re-ensouled bodies would get from earth to heaven? Classic rock fans today know that you take a stairway to heaven and a highway to hell, and that is indeed what late Gothic painters such as Stefan Lochner (Figure 1), Hans Memling, and Rogier van der Weyden tended to picture-though in their images the way to hell is often less a road than just a rupture in the ground. Thirteenth-century stone sculptors had a different answer, one bound to the distinctive character of their medium, the pre-established formatting of their designs, and the site of installation for their works. How did people get to heaven? In some of the grandest portals of Gothic cathedrals, they simply walked. 1 "Brücken zum Jenseits: Mittelalterliche Kunstwerke in Transferprozessen zwischen irdischer und himmlischer Sphäre," organized by David Ganz, Sophie Schweinfurth, and Katharina Theil.

La capacità di inventare mostri è da sempre considerata tra le più alte espressioni dell’immaginazione umana come ben si evince da questo volume, arricchito di un suggestivo apparato di illustrazioni. L’atto creativo accomuna l’artista a Dio, ma mentre Dio dà per definizione forma e senso a ciò che esiste, l’artista può esprimersi – con ancor più libertà – dando vita a ciò che non esiste e inganna, come solo il Diavolo sa fare. Aprire questo libro significa immergersi in uno stupefacente viaggio di scoperta le cui tappe sono centinaia di opere visionarie, centinaia di espressioni dell’immaginazione umana che raccontano genesi, evoluzione e ragioni di un universo magico che da oltre cinque secoli non smette di sedurci. È l’universo che d’istinto associamo al solo Jheronimus Bosch, ignorandone la ben più complessa geografia punteggiata di nomi meno noti, talvolta in grado di rivaleggiare in meraviglia con l’ingombrante precursore. Ma non si tratta di stravaganze episodiche, isolate le une dalle altre: sono invece bizzarrie inserite in una costellazione, qui protagoniste di una inedita veduta d’insieme che ne ricompone l’originaria unità e le raccoglie sotto il nome di Fantasmagorie. Agli occhi di un lettore moderno questo titolo parrebbe avere il solo merito di evocare un immaginario di libere forme fantastiche, ma è in realtà suggerito proprio dalle fonti del Seicento, nelle quali erano definite spoockerijen (da spoock, “fantasma”) le declinazioni irreali e illusorie del demoniaco, ovvero Stregonerie, Inferni e Tentazioni di sant’Antonio, che costituivano una precisa categoria tematica della coeva cultura figurativa dei Paesi Bassi del nord. A partire dai modelli messi in circolazione nelle Fiandre da Bosch e da Pieter Bruegel tra Quattro e Cinquecento, il volume esplora la produzione fantasmagorica dei pittori fiamminghi e olandesi delle generazioni successive, concentrandosi in particolare su Jan Brueghel il Vecchio, Jacques de Gheyn II, Jacob van Swanenburg, Cornelis Saftleven, David Teniers II e Domenicus van Wijnen. Il quadro che emerge dal confronto tra dipinti, disegni e stampe sorprende per varietà e sfumature, e nel contempo illustra la fitta trama di relazioni che collega letteratura onirica, trattati demonologici, scritti sulle streghe e teorie su immaginazione e fantasia. Perché inventare mostri è un gioco, ma è un gioco molto serio.

Modern languages and literary traditions developed in medieval and modern Europe in continuity with Latin and its written transmission. This is particularly evident in texts until at least the end of the fifteenth century. The relation of modern Europe with its Latin roots, combined with the study of the cultural relations established among the differing linguistic cultures of medieval Europe – Arabic, Hebrew, Greek, Latin, Germanic, Slavonic – will help us understand this chapter of European cultural history, as will the study of written culture that enabled their transmission. We need to understand how this mise en écriture happened, what form did the texts materially take, how were the writing systems within Latin scripts revised in order to accomodate languages that had never been written before.

'TranScript' will provide a forum for discussion on the translation of cultures from orality to script, and across differing traditions, with particular reference to the centuries spanning the 11th to the 15th.We believe that a fruitful interaction between philology, textual criticism and paleography may provide a renewed approach and perhaps a new methodology, open also to anthropology and culture studies to help understand the foundations of modern Europe, its languages and its literary traditions. We also believe that the potential unleashed for research by digital humanities in terms of the number of texts available for interrogation and the possibility of study across media might also contribute significantly to the advancement of our studies.

Видання присвячене дослідженню великоформатної ікони «Вигнання Адама і Єви з раю. Страшний суд» з с. Усть-Путила на Буковині, яка наразі є найбільшим і найдавнішим з-поміж точно датованих творів іконопису в колекції Чернівецького обласного художнього музею. На основі джерел та літератури окреслено основні особливості розвитку іконографії Страшного суду в регіоні, встановлено прототипи для створення ікони з Усть-Путили, проаналізовано окремі сюжети та здійснено їх порівняльний аналіз з іншими іконами Буковинського краю, а також охарактеризовано художні особливості полотна. Праця розрахована на мистецтвознавців, культурологів, істориків, етнологів, працівників музеїв та всіх, хто цікавиться культовим мистецтвом і минулим Буковини.

in The Smiling Walls. Dante e le arti figurative, ed. by R. Arqués, S. Maddalo, L. Pasquini, Brepols, 2023, pp. 193-216

Nell’opera di Fra Giovanni da Fiesole, il Giudizio universale è secondo solo all’Annunciazione quale soggetto ricorrente e caratterizzante della sua pittura sacra. Se le Annunciazioni hanno fissato il canone iconografico per antonomasia del tema nell’arte occidentale, i Giudizi angelichiani, pur non potendo rivaleggiare con l’imponenza di versioni monumentali precedenti (Coppo di Marcovaldo, Giotto, Buffalmacco) e successive (Michelangelo), segnano nondimeno delle tappe di straordinario interesse ed intima coerenza nell’evoluzione del tema .
Ben sei sono i Giudizi conservati dell’Angelico, assai differenziati tra loro per datazione, dimensioni e iconografia. Alla serie vanno aggiunti tre esemplari perduti, due ad affresco spettanti ai tardi anni romani, ed uno su tavola naufragato in mare nel XIX secolo .

Among the six known paintings depicting the Last Judgment with citations from the Garden of Earthly Delights (Madrid, Museo Nacional del Prado) by Jheronimus Bosch (c. 1450-1516) is the Last Judgment Triptych kept at the Wawel Royal Castle in Cracow (c. 1550). In addition to the figures of Christ, Mary, Saint John the Baptist, apostles or human figures rising from graves, one of the key iconographic elements of the final spectacle on earth is angel-trumpeters. It is this motif that is the subject of this article. The group of trumpeting angels from the Cracow painting is shown in the context of analogous motifs from both Last Judgment Triptychs (Bruges, Groeningemuseum & Vienna, Akademie der Bildenden Künste) by Bosch and the Seven Deadly Sins and the Four Last Things (Madrid, Museo Nacional del Prado) probably created in the painter’s studio or by his follower. Comparative material, such as paintings from the 15th and 16th centuries, also includes two preserved late medieval aerophones (the Billingsgate trumpet & a trumpet made by Marcian Guitbert) and the organological treatise Musica getutscht und außgezogen (1511) by Sebastian Virdung. The presented iconographic and musicological considerations allow us to define the “canonical” motif of an angel-trumpeter consistently used by Bosch and thus answer the essentially rhetorical question contained in the title. Moreover, acquired knowledge can be used as a quick iconographic “test”.

Sònia GROS I LLADÓS (UNED) Um grupo de especialistas de distintas áreas de conhecimento nos oferece, nesta obra, uma série de trabalhos voltados para o conceito de Humanismo nas letras catalãs, concepção essa, como bem assinala o título, que se insere no âmbito do marco global da corrente humanista. A obra, portanto, principia com a difícil existência do movimento na literatura catalã, superada "a etapa de afirmação do Humanismo catalão na primeira metade do século XX, e a do revisionismo, que o negou nos últimos decênios". O objetivo, segundo declaram os próprios autores, é aprofundar, a partir de diferentes perspectivas e com uma orientação transversal, os aspectos presentes do Humanismo em algumas obras e autores emblemáticos dos séculos XIV e XV, recuperando assim "um dos pontos mais brilhantes" da tradição crítica de nossa Literatura. Além disso, os autores concebem o Humanismo catalão, ou da Coroa de Aragão, como um produto da Coroa catalã-aragonesa, sem remetê-lo a uma língua determinada, já que ali incluem a produção vernácula e latina-embora o estudo não tenha um peso específico nesse ponto-e sempre com a compreensão que o Humanismo não pode ser reduzido apenas a isso. Além disso, o estudo é complementado com uma visão a partir de novas perspectivas, que alcançam a dimensão temporal e espacial: a hispânica, como o marco geográfico e político mais próximo; a europeia, primordial nas relações da Coroa neste período, e a clássica, como fonte sempre onipresente e redescoberta com um novo entusiasmo. A inter-relação destes elementos, aprofundada com o conhecimento do período e das obras, destaca seus aspectos comuns. Da mesma forma, esta organização temática permite uma melhor aproximação ao estudo do conjunto do Humanismo peninsular. O trabalho, portanto, evita o fracionamento artificial do conhecimento e transmite melhor, além disso, a época objeto de estudo. Ademais, tal organização está

Eschatology in the Indo-Iranian Traditions traces the roots of the belief in life after death from the earliest religious beliefs of the Indo-European people, through its first textual emergence among the Indo-Iranians. Tracing the Indo-Iranian concepts of the nature and constitution of man, with special reference to the doctrine of the Soul and its transmigration, the book demonstrates the profound nature of the physical, ethical, spiritual, and psychological ideals embodied in these thought systems as preserved in the Indian and Iranian scriptures.

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Resumo: O manual demonológico Compendium Maleficarum, publicado em 1608, foi escrito por Francesco Maria Guazzo, um frade da Ordem de Santo Ambrósio de Milão, durante seus serviços prestados ao Duque John Williams de Cleves. A obra trata de questões relativas aos malefícios causados pelo Diabo na Terra, desde possessões à bruxaria, e conta com um expressivo conjunto de ilustrações originais. Dividido em três livros, o primeiro deles se destaca por narrar os passos necessários para se firmar um pacto com o Diabo. Segundo Guazzo, o ritual se concretizaria após a execução de 11 passos, descritos no texto e acompanhados de sete imagens. Nelas, podemos ver o protagonismo de uma figura masculina que aparece em destaqueem contraste com o protagonismo de figuras femininas nas imagens que demonstram práticas de bruxaria, por exemplo. A partir destas considerações, delineamos o tema desta comunicação, definido a partir de um recorte temático extraído da nossa dissertação de Mestrado. Palavras-chave: Compendium Maleficarum; pacto diabólico; imagens. Considerações iniciais O presente artigo se baseia na comunicação apresentada na V Semana Infernal, cujo tema foi derivado da minha pesquisa de Mestrado, em vias de finalização, no Programa de Pós-Graduação em História da UFSC, na linha de História da Arte. Nela, pesquiso imagens de bruxas a partir das minhas fontes, que são as ilustrações de três livros sobre demonologia e bruxaria-De Lamiis et phitonicis mulieribus (1489), Compendium Maleficarum (1608), e La Sorcière (1862, edição de 1911). Tratarei aqui do segundo desses livros, o Compendium Maleficarum, mais especificamente de suas imagens. A inspiração para a comunicação surgiu durante umade muitasdas análises das xilogravuras originais do livro. Nestes momentos de observação e imersão nas imagens, uma quantidade enorme de pensamentos e relações se manifestam. Nem todos eles podem ser trabalhados na pesquisa em si, por questão de prioridades, afinal temos objetivos e prazos delimitados de pesquisa e escrita. Porém, em espaços como estes de eventos acadêmicos, conseguimos nos debruçar um pouco mais em alguns destes pontos. É justamente isto que pretendi fazer aqui. Talk. XV-Whether the Devil can Make Men Insensible to Torture. XVI-Whether by Witchcraft and Devil's Work the Sexes can be Interchanged. XVII-Whether the Spirits of the Dead can Appear to Men. XVIII-Of Apparitions of Demons, or Spectres. XIX-That Cacodemons Exercise their Magic Powers of their Own Will."; "I-Of Soporific Spells. II-Witches use Human Corpses for the Murder of Men. III-Of Witches' Poisons. IV-Of Tying the Points. V-Of Incendiary Witchcraft. VI-The Devil Wishes to Perpetuate the Race of Witches. VII-Of the Various Ways by which Witches Vent their Spite upon the Human Race. VIII-Of the Different Diseases Brought by Demons. IX-Why God Permits the Devil so to Busy Himself with Witchcraft. X-The Laws Observed by Witches in Causing and Curing Sickness. XI-Witches Use something of Religion in Healing Sickness. XII-Threatening or Beating Witches is the Best Method of Removing the Spells cast by Them. XIII-After the Many Blasphemies Committed by Witches, the Demon at last Tries to Induce them to Kill Themselves with Their Own Hands. XIV-Upon Those who have once Fallen into his Power the Devil keeps a Tenacious Grip, even when They stand Tortured before Their Judges, or in Holy Places, or wherever They may Be. XV-A Summary in a Few Words of All the Crimes of Witches. XVI-The Devil Deceives and Seduces by means of False Revelations or Apparitions. XVII-Of the Appeal to God. XVIII-Of the Trial by Single Combat. XIX-Of Vulgar Purgation by Fire. XX-Of Superstitious Folk."; e "I-Whether it is Lawful to Remove a Spell in Order to Heal One that is Bewitched. II-How to Distinguish Demoniacs and Those who are Simply Bewitched. III-Recent Examples of the Mercy of God and the Tyranny of the Devil. IV-Of Divine and Supernatural Remedies." (GUAZZO, 1929) 4 Demônios malignos. 5 Que causam sono.

Resumo: O manual demonológico Compendium Maleficarum, publicado em 1608, foi escrito por Francesco Maria Guazzo, um frade da Ordem de Santo Ambrósio de Milão, durante seus serviços prestados ao Duque John Williams de Cleves. A obra trata de questões relativas aos malefícios causados pelo Diabo na Terra, desde possessões à bruxaria, e conta com um expressivo conjunto de ilustrações originais. Dividido em três livros, o primeiro deles se destaca por narrar os passos necessários para se firmar um pacto com o Diabo. Segundo Guazzo, o ritual se concretizaria após a execução de 11 passos, descritos no texto e acompanhados de sete imagens. Nelas, podemos ver o protagonismo de uma figura masculina que aparece em destaqueem contraste com o protagonismo de figuras femininas nas imagens que demonstram práticas de bruxaria, por exemplo. A partir destas considerações, delineamos o tema desta comunicação, definido a partir de um recorte temático extraído da nossa dissertação de Mestrado. Palavras-chave: Compendium Maleficarum; pacto diabólico; imagens. Considerações iniciais O presente artigo se baseia na comunicação apresentada na V Semana Infernal, cujo tema foi derivado da minha pesquisa de Mestrado, em vias de finalização, no Programa de Pós-Graduação em História da UFSC, na linha de História da Arte. Nela, pesquiso imagens de bruxas a partir das minhas fontes, que são as ilustrações de três livros sobre demonologia e bruxaria-De Lamiis et phitonicis mulieribus (1489), Compendium Maleficarum (1608), e La Sorcière (1862, edição de 1911). Tratarei aqui do segundo desses livros, o Compendium Maleficarum, mais especificamente de suas imagens. A inspiração para a comunicação surgiu durante umade muitasdas análises das xilogravuras originais do livro. Nestes momentos de observação e imersão nas imagens, uma quantidade enorme de pensamentos e relações se manifestam. Nem todos eles podem ser trabalhados na pesquisa em si, por questão de prioridades, afinal temos objetivos e prazos delimitados de pesquisa e escrita. Porém, em espaços como estes de eventos acadêmicos, conseguimos nos debruçar um pouco mais em alguns destes pontos. É justamente isto que pretendi fazer aqui. Talk. XV-Whether the Devil can Make Men Insensible to Torture. XVI-Whether by Witchcraft and Devil's Work the Sexes can be Interchanged. XVII-Whether the Spirits of the Dead can Appear to Men. XVIII-Of Apparitions of Demons, or Spectres. XIX-That Cacodemons Exercise their Magic Powers of their Own Will."; "I-Of Soporific Spells. II-Witches use Human Corpses for the Murder of Men. III-Of Witches' Poisons. IV-Of Tying the Points. V-Of Incendiary Witchcraft. VI-The Devil Wishes to Perpetuate the Race of Witches. VII-Of the Various Ways by which Witches Vent their Spite upon the Human Race. VIII-Of the Different Diseases Brought by Demons. IX-Why God Permits the Devil so to Busy Himself with Witchcraft. X-The Laws Observed by Witches in Causing and Curing Sickness. XI-Witches Use something of Religion in Healing Sickness. XII-Threatening or Beating Witches is the Best Method of Removing the Spells cast by Them. XIII-After the Many Blasphemies Committed by Witches, the Demon at last Tries to Induce them to Kill Themselves with Their Own Hands. XIV-Upon Those who have once Fallen into his Power the Devil keeps a Tenacious Grip, even when They stand Tortured before Their Judges, or in Holy Places, or wherever They may Be. XV-A Summary in a Few Words of All the Crimes of Witches. XVI-The Devil Deceives and Seduces by means of False Revelations or Apparitions. XVII-Of the Appeal to God. XVIII-Of the Trial by Single Combat. XIX-Of Vulgar Purgation by Fire. XX-Of Superstitious Folk."; e "I-Whether it is Lawful to Remove a Spell in Order to Heal One that is Bewitched. II-How to Distinguish Demoniacs and Those who are Simply Bewitched. III-Recent Examples of the Mercy of God and the Tyranny of the Devil. IV-Of Divine and Supernatural Remedies." (GUAZZO, 1929) 4 Demônios malignos. 5 Que causam sono.

Vrubel à Igreja de São Cirilo, do século XII, em Kiev, onde este último havia restaurado e recriado um grande número de afrescos em 1884. Em frente ao seu mural da Lamentação do Anjos [Figura 1], Vrubel comentou que "em essência, este é o tipo de obra ao qual eu deveria retornar."1 Naquela época, Vrubel estava estabelecido em Moscou e já havia pintado algumas de suas obras-primas mais célebres: Demônio Sentado (1890) [Figura 2], Retrato de Savva Mamontov (1897), Pan (1899), Lilases (1900) e Princesa Cisne (1900) [Figura 3]. No entanto, o próprio Vrubel julgava que tinha produzido o melhor de sua obra durante sua estadia em Kiev na década de 1880, um período que foi amplamente marcado pelo seu trabalho de restauração na Igreja de São Cirilo, e pelos seus esboços para os murais não realizados na Catedral de São Vladimir.2 O historiador de arte Nikolai Punin concordava com a autoavaliação do artista, elogiando os afrescos de Vrubel em Kiev como alguns dos seus melhores trabalhos, nos

Introduction: This manuscript presents an unprecedented hypothesis that the Flayed Man [Taoula. I. del Lib. II] by Gaspar Becerra (1520-1570), published in the classic study on the Historia de la composicion del cuerpo humano (1556) by Juan Valverde de Amusco (ca.1525-1587), may have been elaborated according to a mathematical relation known since antiquity as the Golden Ratio (GR) (1.6), which is identified in the organization of numerous biological structures, in both the animal and plant kingdoms. Materials and methods: To test this hypothesis, we used Image Pro Plus Software 6.0 [Media Cybernetics, Silver Spring, MD, USA] to measure the distances between critical elements within the Taoula. I. del Lib. II. Results: The way in which the GR is presented in the Flayed Man by Gaspar Becerra, uniquely resembles the pattern previously used by Michelangelo Buonarroti (1475-1564) in the figure of Saint Bartholomew, painted in the fresco of the Last Judgment (1536-1541) in the Sistine Chapel in Rome, Italy. Conclusion: Currently there is no known description attributed to Michelangelo himself regarding the use of the GR in his art. Nevertheless, the present study provides evidence to show Michelangelo may have personally instructed Gaspar Becerra regarding the foundations of the GR and the ways in which it might be applied in works of art.

Sulla parete della navata di sinistra della Chiesa Matrice di Corato (Ba), vi è un affresco del XVI secolo di un pittore a cui gli è stato attribuito il nome ZT, che in una recente ipotesi è stato identificato col nome di Zorzi Teutonico. L’affresco risulta molto rovinato, mancante in alcune sue parti, ma che in un precedente lavoro di ricerca sono stati identificati le figure dei santi presenti. L’unica parte che non era stata oggetto di studio era quella inferiore con i fiori e che a causa dell’alto grado di erosione causato dall’umidità di risalita, ha portato nel tempo alla distruzione di molti di essi. Attraverso delle foto ad alta risoluzione, ingrandimento dei particolari, ricostruzioni digitali è stato possibile avanzare una nuova ipotesi ricostruttiva ed interpretativa sul loro significato simbolico (settembre 2023).

Ołtarz Sądu Ostatecznego z Wiednia uważany jest obecnie przez członków Bosch Research and Conservation Project za dzieło Jheronimusa Boscha (ok. 1450-1516) i jego warsztatu. Reminiscencje oraz aluzje do grzechów nieczystości uobecniają się w Ołtarzu wiedeńskim wielokrotnie. Choć w kilku scenach pojawiają się instrumenty muzyczne, często w sztuce łączone z miłością, to w literaturze przedmiotu aspekty muzyczne są często marginalizowane lub wręcz pomijane. Głównym celem niniejszego artykułu, oprócz analizy ikonograficznej (profilowanej muzykologicznie) owych kilku scen (część I), jest próba dotarcia do źródeł ideowych powiązania w wizji zaświatów dwóch elementów: kar odpowiadających jednemu z grzechów głównych (luxuria) z muzyką (część II). Umuzycznione sceny, wykazujące związki z malarstwem miniatorskim, przywołują także na myśl realia historyczne – aspekty praktyki wykonawczej w ramach muzykowania prywatnego przełomu XV-XVI wieku. Jako najważniejsze źródła literackie inspiracji malarza jawią się Biblia, Wizja Thurkila oraz Strumień światła Boskości Mechtyldy z Magdeburga. Korespondencja pewnych motywów w scenach przedstawiających grzechy nieczystości (Tryptyk Wędrowca, Wóz z sianem, Siedem Grzechów Głównych i Cztery Rzeczy Ostateczne) z odpowiadającymi im motywami w Ołtarzu wiedeńskim, dowodzi istnienia w pracowni Jheronimusa Boscha spójnego systemu mentalno-światopoglądowego, w którym kara wiecznego potępienia nosi piętno uciech ziemskich.

Ołtarz Sądu Ostatecznego z Wiednia uważany jest obecnie przez członków Bosch Research and Conservation Project za dzieło Jheronimusa Boscha (ok. 1450-1516) i jego warsztatu. Reminiscencje oraz aluzje do grzechów nieczystości uobecniają się w Ołtarzu wiedeńskim wielokrotnie. Choć w kilku scenach pojawiają się instrumenty muzyczne, często w sztuce łączone z miłością, to w literaturze przedmiotu aspekty muzyczne są często marginalizowane lub wręcz pomijane. Głównym celem niniejszego artykułu, oprócz analizy ikonograficznej owych kilku scen (część I), jest próba dotarcia do źródeł ideowych powiązania w wizji zaświatów dwóch elementów: kar odpowiadających jednemu z grzechów głównych (luxuria) z muzyką (część II). Umuzycznione sceny w Ołtarzu Sądu Ostatecznego, wykazujące związki z malarstwem miniatorskim, przywołują na myśl realia historyczne - aspekty praktyki wykonawczej w ramach muzykowania prywatnego przełomu XV-XVI wieku.

In the Vienna Last Judgment by Jheronimus Bosch, both angels and demons are shown with brass instruments. Such a distribution of the trumpets, traditionally associated with the former, proves Bosch’s creative approach to the Last Judgment as a subject. The very long straight trumpets, which are used by angels in the middle panel, appear as an iconographic construct intended to correspond with the importance of an eschatological event. Winged beings play the role of heraldic trumpeters who announce the presence and majesty of Christ to the whole world. The suggestive gesture of one of the angels putting down the instrument is interpreted as a sign of the times. In the right wing of the triptych, a trumpet inserted into a demon’s anus is shown twice. This obscene motif, derived from manuscript illuminations, was transformed by Bosch in an original way. Demonic music in front of the Lucifer’s palace brings to mind ethical dissonance and spiritual disharmony of the damned. In turn, the demon at the top of the pleasure tent plays the role of a trumpeter pointing to the center of hell. As part of the play with the iconography of the Last Judgment, Bosch used here the topos of the angel-trumpeter but subjected it to inversion.

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Il lavoro, frutto delle ricerche condotte per la tesi di laurea triennale, si propone di analizzare un ciclo di affreschi raffigurante il Giudizio Universale conservato nella navata destra della chiesa di San Francesco a Brescia. La disamina è condotta sotto l'aspetto iconografico, contestuale e della destinazione, indagando in particolare il messaggio veicolato dalla pittura ai fruitori di una chiesa francescana fra XIII e XIV secolo e il relativo contesto architettonico, spaziale e ideologico.

El estudio de las estampas y sus usos como modelos para la pintura de la temprana modernidad en el cruce con la circulación global de las imágenes ha permitido reconstruir extensas redes de imágenes a partir de la apropiación de los mismos motivos en diferentes partes del globo y profundizar en el accionar concreto de los artistas que seleccionaron y combinaron los motivos de las estampas a partir de objetivos diferenciados. El presente artículo aborda la circulación de los motivos del Juicio Final de Miguel Ángel para destacar las citas visuales de esta obra como estrategias de los artistas para generar una intervisualidad que conecte su propia producción con un artista y una imagen célebres para sus contemporáneos.